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Immunity. Everyone wants it. One man has it. Our hero, if you can call him that, must escape from the government facility he is incarcerated in. Escape the certifiable, alphabet-agency super-spook who seized him and dragged him across the country. Elude an army of doctors and soldiers who think he is the answer to the plague of the living dead. Flee back to his friends, a continent away. Can he safely traverse a ruined United States crawling with insatiable, infected cannibals? Should he stay in the impregnable fortress, do his duty, and submit to the testing in hopes he can save everyone? What's an immune, arrogant, rude, criminal to do?
Out of sight, out of their minds: It's a school-trip splatter fest and completely not cool when the other kids in her class go all braindead on new girl Bobby.The day of the ski trip, when the bus comes to a stop at a roadside restaurant, everyone gets off and heads in for lunch. Everyone, that is, except Bobby, the new girl, who stays behind with rebel-without-a-clue Smitty. Then hours pass. Snow piles up. Sun goes down. Bobby and Smitty start to flirt. Start to stress. Till finally they see the other kids stumbling back. But they've changed. And not in a good way. Straight up, they're zombies. So the wheels on the bus better go round and round freakin' fast, because that's the only thing keeping Bobby and Smitty from becoming their classmates' next meal. It's kill or be killed in these hunger games, heads are gonna roll, and homework is most definitely gonna be late.Combining the chill of THE SHINING, the thrill ride of SPEED, the humor of SHAUN OF THE DEAD, and the angst of THE BREAKFAST CLUB, Kirsty McKay's UNDEAD is a bloody mad mash-up, a school-trip splatter-fest, a funny, gory, frighteningly good debut!
The world has fallen to a relentless enemy beyond reason or mercy. With no remorse they rend the planet with tooth and nail. One man stands against the scourge of death that consumes all. Rude. Arrogant. Criminal. This is the person who is to save humanity from the countless numbers of savage undead now roaming the earth. A savior who is immune. The government wants him. The dead want to eat him. His friends need him. Teamed with a genius survivalist and a teenage girl, he must flee the teeming dead, the evils of humans left unchecked, and those that would seek to use him. His best weapon to stave off the horrors of this new world? His wit.
This up-to-date introduction to the complex world of conspiracies and conspiracy theories provides insight into why millions of people are so ready to believe the worst about our political, legal, religious, and financial institutions. Unsupported theories provide simple explanations for catastrophes that are otherwise difficult to understand, from the U.S. Civil War to the Stock Market Crash of 1929 to the terrorist attacks on the World Trade Center in New York. Ideas about shadowy networks that operate behind a cloak of secrecy, including real organizations like the CIA and the Mafia and imagined ones like the Illuminati, additionally provide a way for people to criticize prevailing political and economic arrangements, while for society's disadvantaged and forgotten groups, conspiracy theories make their suffering and alienation comprehensible and provide a focal point for their economic or political frustrations. These volumes detail the highly controversial and influential phenomena of conspiracies and conspiracy theories in American society. Through interpretive essays and factual accounts of various people, organizations, and ideas, the reader will gain a much greater appreciation for a set of beliefs about political scheming, covert intelligence gathering, and criminal rings that has held its grip on the minds of millions of American citizens and encouraged them to believe that the conspiracies may run deeper, and with a global reach.
Seventh-grader Molly has always been an outsider, even at New York City's elite Metropolitan Institute of Science and Technology, but that changes when she is recruited to join the Omegas, a secret group that polices and protects zombies.
Fake history is not a harmless mistake of fact or interpretation. It is a mistake that conceals prejudice; a mistake that discriminates against certain kinds of people; a mistake held despite a preponderance of evidence; a mistake that harms us. Fake history is like the Zombies we see in mass media, for the fake fact, like the fictional Zombie, lives by turning real events and people into monstrous perversions of fact and interpretation. Its pervasiveness reveals that prejudice remains its chief appeal to those who believe it. Its effect is insidious, because we cannot or will not destroy those mischievous lies. Zombie history is almost impossible to kill. Some Zombie history was and is political, a genre of what Hannah Arendt called “organizational lying” about the past. Its makers designed the Zombie to create a basis in the false past for particular discriminatory policies. Other history Zombies are cultural. They encapsulate and empower prejudice and stereotyping. Still other popular history Zombies do not look disfigured, but like Zombies walk among us without our realizing how devastating their impact can be. Zombie History argues that, whatever their purpose, whatever the venue in which they appear, history Zombies undermine the very foundations of disinterested study of the past.
Surviving the zombie apocalypse was hard, but finding true love may be fatal. Urban farmer Miranda Tucci is lucky to be alive in what's left of California's Silicon Valley, despite a love life that's dead on arrival. Then an old flame turns up at nearby Santa Clara University, and she wonders if her DOA love life might have a pulse. A ruthless governing council controls the cure for the zombie virus. When Miranda joins a plot to steal it, the ghosts of her past collide with the present. Will the vaccine continue to be used for political advantage, or can Miranda survive long enough to usher in a new age of civilization? It's only the fate of humanity that's suddenly resting on her shoulders. If she can bring her love life back from the dead, how tough can saving the world be?
From a bold new voice in literary fiction comes a compelling story of three mothers whose lives intersect during a generation-defining period in South Africa's history. The year is 1994, and South Africa is in political turmoil as its first democratic election looms. Against a backdrop of apartheid and racial violence, traumatized artist Yolanda Petersen returns from the Appalachian foothills to the land of her youth at the behest of her mother. While there Yolanda longs to reconnect with her estranged daughter, Ingrid, the product of an illegal mixed-race affair with a white man. But Ingrid is missing, and as Yolanda quickly discovers, she isn't the only woman in Cape Town desperate to protect her own. Ingrid's very existence is proof of a white man's crime, and that man's mother will do anything--even kill--to ensure the truth remains buried. An evocative debut novel set during a defining period in history, A Conspiracy of Mothers tells a gripping story of love and betrayal from multiple perspectives while deftly balancing the painful legacy of apartheid with the trials of motherhood.
Karen DeSonne always passed as a normal teenager - and now that she' dead, she's still passing - this time, as alive. When her dead friends are accused of a high profile murder and forced into hiding, she has to prove their innocence. Which means doing the unthinkable and becoming the girlfriend of bionist zealot Peter Martinsburg, who she suspects of framing them. But if he finds out who Karen really is, the consequences for her will be worse than death...
This book explores the central role of the zombie in contemporary popular culture as they appear in video games. Moving beyond traditional explanations of their enduring appeal – that they embody an aesthetic that combines horror with a mindless target; that lower age ratings for zombie games widen the market; or that Artificial Intelligence routines for zombies are easier to develop – the book provides a multidisciplinary and comprehensive look at this cultural phenomenon. Drawing on detailed case studies from across the genre, contributors from a variety of backgrounds offer insights into how the study of zombies in the context of video games informs an analysis of their impact on contemporary popular culture. Issues such as gender, politics, intellectual property law, queer theory, narrative storytelling and worldbuilding, videogame techniques and technology, and man’s relation to monsters are closely examined in their relation to zombie video games. Breaking new ground in the study of video games and popular culture, this volume will be of interest to researchers in a broad range of areas including media, popular culture, video games, and media psychology.